The TV industry has long been under pressure to adapt its workflows to use advanced Internet technologies. It also must face competition from social media, video blogs, and livestreaming platforms, which are enabled by lightweight production tools and new distribution channels. The social-distancing regulations introduced due to the COVID-19 pandemic added to the list of challenging adaptations. One of the remaining bastions of legacy TV production is the live broadcast of sporting events and news. These production practices rely on tight collaboration in small spaces, such as control rooms and outside broadcast vans. This paper focuses on current socio-technical changes, especially those changes and adaptations in collaborative practices and workflows in TV production. Some changes necessary during the pandemic may be imposed, temporary adjustments to the ongoing situation, but some might induce permanent changes in key work practices in TV production. Further, these imposed changes are aligned with already ongoing changes in the industry, which are now being accelerated. We characterize the changes along two main dimensions: redistribution of work and automation.

This paper explores the design space of collaborative video editing through a series of design workshops with video editors. Collaborative video editing can be supported by adding awareness features or other well-known collaborative features found in existing software and introducing new features designed specifically for video editing software. The paper identifies different design concepts that illustrate how such collaborative features can be included in non-linear video editing software and discusses the challenges of introducing such features. Some design concepts are explicitly inspired by existing collaborative tools. However, we suggest that introducing such features might not be straightforward. In other cases, alternative abstract representations of time-based media might be necessary to support collaborative video editing.

With the ongoing environmental disruptions, designers are increasingly interested in exploring nature–technology entanglements that create sustainable and collaborative futures. Although largely unarticulated, these emerging design inquiries are motivated by care for nature, which indirectly depends on cultural and social human practices. Drawing on a broad set of works on care from feminist theory, science and technology studies, and human–computer interaction, this article introduces a care framework that focuses on revealing tensions in the interrelationship between humans and nonhumans. The framework is used to examine an initial study in which five participants engaged with a speculative design probe, specifically a combination of a device and a plant, envisioning a scenario in which plants generate electricity. We reveal how forms of care manifest differently in a human–plant–technology dynamic and identify tensions, such as plants being considered utilities, proxies, or humans.

Despite the growing concerns related to environmental disruptions, such as forest fires and floods, our interaction with nature has become increasingly distant. The belief is that this is due to human attunement to quick changes over short periods, while natural changes seem slow-paced over the long term. We argue that rather than the problem lying with the pace of time, humans should further attune to the various temporalities within nature. To unpack this topic, we follow a two-fold process: Research through Design and Autobiographical Design. The resulting prototype takes environmental sensor data and visualises the changes happening over a short time. We complement this IT-supported process with think-aloud walks, a practice that is embodied and devoid of technology, for a plural perspective on time. We offer insights into how noticing the various temporalities in nature was enabled, finally arguing for designs that support progressive adjustments that sustain human-nonhuman mutualism.

Designing wearables is a complex task that includes many layers, such as wearability, interactivity, functionality, social and cultural considerations. For decades now, prototyping toolkits are proposed to aid diverse types of audiences in exploring the design of smart accessories and garments. However, the task of designing toolkits for wearables has not received a comprehensive discussion and systematic reflection. In this workshop, we look into challenges, opportunities, and lessons learned in using, developing and evaluating wearable toolkits by focusing on their target groups, purposes, effects on the final designs. By bringing together researchers and practitioners who are experienced with the design, use and assessment of wearable toolkits, we see a particular opportunity in providing a broader perspective on defining the future of wearable toolkit designs.

Most computer vision applications in the commercial scene lack a large scale and properly annotated dataset. The solution to these applications relies on already published code and knowledge transfer from existing computer vision datasets. In most cases, these applications sacrifice proper benchmarking of the solution and rely on the performance of used methods from their respective papers. In this paper, we are focusing on how we can use the existing code base and the datasets in computer vision to address a hypothetical application of detecting garments in the catwalk videos. We proposed a combination of methods that allows us to localize garments in complex scenery by only training models on public datasets. To understand which method performs best for our application, we have designed a relative-benchmark framework that requires very little manual annotation to work.

Wir untersuchen verschiedene Arten der Pflanzen-Interaktion durch die Triangulation von vier Ansätzen: einer artenübergreifenden ethnografischen Untersuchung der gewöhnlichen Praktiken und Tätigkeiten von Menschen in Bezug auf die japanische Kirschblüte (japanisch: Sakura) während der kurzen Blühperiode dieser Bäume; einer Durchsicht der theoretischen Arbeiten zur Mensch-Pflanze-Beziehung und zum Drang von Pflanzen zur Weiterverbreitung; einer systematischen Analyse dessen, wie Pflanzen in Informatik- und Computersysteme eingebunden sind; und schließlich einem Überblick über die Verwendung von Kirschblüten in den Bereichen Design und Architektur. Schließlich bündeln wir diese Ansätze und stellen die Rolle zur Diskussion, die Pflanzen in Computersystemen und Designartikeln spielen. Als Leitaspekt dient dabei eine Auffassung von Pflanzen-Interaktion als zeitlich ausgedehnter Dissemination und einer auf Ausbreitung zielenden Handlungsfähigkeit oder agency. Das Gestaltungsziel im Bereich der Tier-Computer Interaktion (ACI, Animal-Computer Interaction) richtet sich bislang auf die Entwicklung von Systemen, in denen nicht-menschliche Arten als »Nutzer« fungieren. Bei Übertragung dieses Ansatzes auf Pflanzen muss der Bezugsrahmen der Forschung so ausgerichtet werden, dass wir verstehen, was diese Art von »Nutzern« tut. Da die erfolgreichsten Formen der Dissemination zugleich hedonisch sind, fordern wir für künftige Forschung die gezieltere Verfolgung eines Systemdesigns, das ästhetische Interaktion statt jener abstrakten Kontemplation fördert, die häufig im Bereich Mensch-Computer Interaktion (HCI) anzutreffen ist.

We asked when and how mobile phones are represented in Vogue (US) and L'Officiel (FR) between 1993 and 2017, and in what sense their presence in such magazines can be understood as making them into fashion items. The question is warranted since these magazines act as critical gatekeepers to fashion, at the same time as it has been argued that the latter is spreading its influence from clothes to other objects. We study the occurrence, changing styles and visual aesthetics of phones through a quantitative and a qualitative analysis. The former shows mobile phones did appear in the magazines, indicating that the important gatekeepers allow these devices to enter the fashion world. The qualitative analysis reveals that the aesthetic representation of mobile phones both conforms to and diverges from how garments are aestheticized in these magazines. The overall picture is one of a fluctuating and heterogeneous relation, with intermittent and temporary interactions between fashion gatekeeping and the digital devices. When carefully studying the interest in displaying the digital objects in these magazines we see a rather limited influence and not a trend.

Video production is a collaborative process involving creative, artistic and technical elements that require a multitude of specialised skill sets. This open-ended work is often marked by uncertainty and interpretive flexibility in terms of what the product is and should be. At the same time, most current video production tools are designed for single users. There is a growing interest, both in industry and academia, to design features that support key collaborative processes in editing, such as commenting on videos. We add to current research by unpacking specific forms of collaboration, in particular the social mechanisms and strategies employed to reduce interpretive flexibility and uncertainty in achieving agreements between editors and other collaborators. The findings contribute to the emerging design interest by identifying general design paths for how to support collaboration in video editing through scaffolding, iconic referencing, and suggestive editing.

Film media have become an essential part of the symbolic production of fashion, not least because of the emergence of Internet. Fashion film uses storytelling in a way that the audience comes to experience the garments in combination with the film. The film experience then influences viewers' eventual experience of wearing the garment. Fiction enables fashion and fashion becomes fiction. At the same time, there is an emerging interest within computer science, such as human-computer interaction (HCI), in designing fashion-related, digital services and wearable technologies, which are also termed "digital fashion". Such technology has the potential to offer new products that are worn as garments. A digital garment shares the focus on visual appearance with traditional clothing fashion, but differs from the latter because it can change its visual expression. In developing and studying such technology, we need to understand both what constitutes fashion in a broad sense, and how to communicate these new design concepts to intended users. Both challenges motivate the production of a film on fashionable wearables. We therefore need to unpack in detail how to make such a film, as well as how to address the differences between the "functions" of fabric and of digital technology.